Ken Kewley, Chocolate Mousse Cake, Pears on White Plate
Link to Post:
http://www.on-verge.org/conversations/painters-palette-interview-with-jacob-ouillette/
Megan M. Garwood interviews painter Jacob Ouillette about the work in his recent exhibition Brushstroke Paintings at Nancy Margolis Gallery.
Ouillette remarks: "Each brushstroke is applied in one single motion, one pass, from left to right with no revisions allowed, or necessary, like the mark of a calligraphers brush. The paintings are created almost as a live performance, one stroke, or note at a time, until the composition is complete, the song ends when the last note is played. Unlike live music though, the painting holds that 'live'moment frozen indefinitely."
Submitted by Brett Baker on January 23, 2012
Siri Berg, It's All About Color, Installation View (courtesy of The Painting Center)
Siri Berg, It's All About Color at The Painting Center, New York on view from November 17, 2011 - January 28, 2012
Siri Berg in her studio (Photo courtesy of Mats Petersson)
Coinciding with the exhibition Re-Generation, which maps the lasting effect of Josef Albers teaching on three successive generations of painters, is a small but exuberant show of paintings and works on paper by another teacher of color theory, painter Siri Berg.
The exhibition, entitled It’s All About Color, is dominated by three polyptychs, each consisting of progressions of monochrome panels. Though all three share a visual language, their arrangements are varied, and each stakes out its own chromatic territory. Carrie Patterson, who curated both shows, notes that “one set of nine canvases are shown in sequence; the second series is far more playful and invites the viewer to mix and match the canvases in different order where the viewer chooses the orientation and gradation of the series.”
Working in such series is not new territory for Berg. Heli Haapasalo noted in a 2003 review that Berg’s “modular" systems are "a flexible method of creating and combining work, a process by which [her pictures] can each stand apart or join others as an ensemble, with no loss of visual integrity.” In the current exhibition Berg’s signature serial deployment of colored panels results in an optical recreation of the process of mixing color.
Although Berg’s formats and surfaces are cerebral and calculated, she has stated she wishes to “Embrace the Expressionistic!” 1 Conceptual restriction, in Berg’s hands, does add up to exuberant expression and has a painterly feel. Berg’s language of pure color and forms (formats, really) is simultaneously precise and animated. Berg’s works are, thus, a paradox - exuberance born of control.
Submitted by Brett Baker on December 20, 2011
Artist/teachers from Thomas Eakins to Robert Henri and Charles W. Hawthorne have played an important role in shaping generations of American artists. From the mid-century and into the post-war period Josef Albers had a great and lasting influence on American art. His famous color exercises, collected in the seminal text The Interaction of Color, were published in 1963 with the help of his students.
Link to Post:
http://youtu.be/GGWhNxhcYT0
[VIDEO] Mark Dagley visits the exhibition Gabriele Evertz: Rapture on view at Minus Space, Brooklyn through December 17, 2011.
In the video, Minus Space's Matthew Deleget discusses the exhibition. Deleget notes that Evertz is "one of the few artists... looking at gray as a color, not as a neutral value, not as a background element, but as a color in and of itself."
Link to Post:
http://www.pirihalasz.com/blog.htm?post=821885
Piri Halasz reviews the work of Louise P. Sloane on view in the exhibition Louise & Randy: Hotter than 'Ell at Sideshow Gallery in Brooklyn through November 13, 2011.
Halasz writes that Sloane's paintings are "painstakingly covered with completely straight, narrow rows of somewhat squiggly rows of paint. These have been put in place by a pastry tube, but on top of a base layer of usually contrasting color, and covered over by a third layer, so that the effect is of a lush bed of plants or a richly embroidered fabric."
Link to Post:
http://thesilo.raphaelrubinstein.com/artists/dolla
Raphael Rubinstein blogs about the under-known work of Noël Dolla.
Rubinstein maintains that Dolla has made "...some of the most significant statements in and about painting... with dishtowels, handkerchiefs, fishing lures, pillowcases and rolls of 14-centimeter wide muslin."
Rubinstein also notes that Dolla was "Fascinated by domestic readymades and also by pure color, passionately committed to painting and intelligently irreverent towards its pretensions, equally ready to uphold the legacy of Malevitch and Barnett Newman (his two greatest influences) and to pursue what he has called “humiliated abstraction..."
Also make sure to check out Rubinstein's interview with Dolla in lingo4.
Link to Post:
http://standardinterview.blogspot.com/2011/09/paul-pagk.html
Interview with painter Paul Pagk about his work and studio practice.
Pagk says: "I spend my time painting even in those moments I am not physically painting... [in the studio] ... I will be thinking about the last paintings I have just worked on or brought to a level from where I am able to move on to the next work. I spend my time adding and removing from the painting, finding the color, the light, removing an element, adding to remove once more, allowing the painting to slowly define it’s self."
Link to Post:
http://www.gorkysgranddaughter.com/2011/09/clint-jukkala-at-giampietro-gallery.html
[Video] Zachary Keeting and Christopher Joy talk with painter Clint Jukkala at his exhibition of new paintings Even If and Especially When on view at Giampietro Gallery in New Haven, Connecticut through October 7, 2011.
Link to Post:
http://abstractcritical.com/2011/08/morris-louis-revisited/
Alan Shipway takes a fresh look at the paintings of Morris Louis.
Shipway writes that "Louis' mature painting evolved over the affluent years of Eisenhower's America, into the Kennedy era, and there is something undeniably optimistic about his pure colour, the sheer physical expanse of his paintings. But they transcend American materialism, or formalism for that matter: Louis' optimism simply belongs to the artist sensing the possibilities of his own art, opening out before him."
